While focusing primarily on Arthur Mitchell and Dance Theatre of Harlem, this pioneering company's Pillow performances are juxtaposed with other ballet artists of color, from Maria Tallchief to Misty Copeland.

This exploration of Brown's earliest Pillow performances considers themes of faith, family, and same-sex desire, as well as formative African and Cuban influences.

Any full history of black dancers at Jacob's Pillow must include its antecedents in the Underground Railroad era, exemplified by Joanna Haigood in her site-specific production, Invisible Wings.

With particular emphasis on Katherine Dunham and Alvin Ailey, this essay examines how dance artists have addressed social concerns through their work, especially since the 1940s.

Beatty’s life as a black man who grew up in a racially-divided America was a lasting and volatile influence on the dances he created, as evidenced by Pillow performances from 1948 to the present day.

Born in Sierra Leone in 1890, Asadata Dafora became known in this country as the first to present authentic African music and dance in a theatrical setting.

A childhood interest in the folkloric practices of Haiti’s people made an indelible imprint on Destiné, and he went on to teach, perform, and lecture on Haitian dance for decades.

None of the black artists at Jacob’s Pillow during its early years confronted and overcame the exclusionary practices of the ballet world more than Janet Collins.